SRI KRISHNA GANA SABHA
Calendar art comes to life
ANJANA RAJAN
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From tiny tots to young women, every member of Anita Guha's team conveyed ebullience.
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Photo: R. Shivaji Rao.
CHERUBIC STYLE: Anita Guha's `Koodiyirundhu Kulirndelorempavai.'
A nitha Guha, one of Chennai's popular Bharatanatyam teachers, presented dramatisations of the verses of `Thirupaavai,' Andal's poetry of devotion to her chosen one, Lord Krishna.
The dance drama, titled `Koodiyirundhu Kulirndelorempavai', was presented in three parts on successive evenings.
The success of the production's claim to bring out the deeper implications of `Thirupaavai,' and not merely its literal meaning, may be debated, but what was amply in evidence as the show opened on the first day was the ebullient joy of the dancers, from tiny tots to young women, who performed in the efficient presentation, as well as the guru's adherence to the basics of classical dance.
It was a disciplined group whose energy was contagious. Not just the neat entries and exits, but their attention to fundamentals of technique — such as a straight spine, the walk in which the heels are placed first, so typical of Bharatanatyam but largely ignored today, firmness of posture (sthiratvam) and a deep square araimandi — signalled a careful teaching process. Only a spinal curvature appeared occasionally to mar the group's `report card,' but this problem is the bane of even senior performers whose dance forms require the demi-plie (half sitting) posture.
It was calendar art come to life. Krishna, Andal, the sakhis, all the characters were made up and attired in the cherubic style that overtook the public imagination centuries ago and refuses to budge. For an audience schooled in mythology and the bhajana sampradaya, it was doubtless a treat. What made it fresh for more demanding eyes was the lack of affectation in the children.
There were no forced smiles, no plastic `shringar poses.' The young dancers seemed genuinely happy, they looked into each other's eyes with honesty and poise, and they switched formations with confidence.
Choreographer Anitha Guha's decision to do away with painted backdrops and props was a welcome one. Occasionally she used dancers to signify objects like a gateway or trees.
The only problem with such theatrical devices is that dancers standing still for a prolonged period block the view from certain angles.
This has to be especially kept in mind in a hall like Krishna Gana Sabha, where those seated at the left and right ends of the rows are anyway deprived of a full view of the stage.
This is because of the decorative panels placed on either side, parallel to the back wall instead of at a slant.
The costumes were individually pretty, but in combination the number of colours was mind-boggling. A more discriminating choice of colours, natural materials and earthen dyes would help raise the aesthetics of the production.
The live orchestra comprised Anitha Guha (vocal and nattuvangam), Randhini (vocal), P.R.Venkatasubramaniam (keyboard), Ramshankar Babu (mridangam), Muruganandam (violin), Ramesh (flute) and Suresh (rhythm pad). Considering the richness of Indian music and instruments, using less electronic effects could raise the standard of the soundtrack.
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